Having toured the albums from Hooky’s previous bands for almost eight years now, Peter Hook & The Light have now arrived at the next chapter in their journey as they reach the late Eighties and early Nineties albums of New Order, “Technique” and “Republic” which they will perform for the first times in London, Manchester and Glasgow in September this year.

The Light have just completed a widely acclaimed world tour performing both “Substance” albums of Joy Division and New Order across North and South America. Europe, Australia and New Zealand but these “Technique” and “Republic” concerts mark the band moving forward through the catalogue once more.

The first of the concerts see the group back in Camden at Koko after the fully sold out Roundhouse concert in December on Friday 28th September. They then play Manchester’s Albert Hall for the first time in their home city Saturday 29th September before heading north of the border for a Scottish concert at the ABC, Glasgow Sunday 30th September.

As has become their custom, all dates feature The Light performing an opening set of Joy Division material

Tickets for all dates go on general sale Friday 9th February at 10AM via Alt Tickets for London and See Tickets Manchester and Glasgow. Links are above.

About Technique & Republic

“Technique”, New Order’s fifth studio album chronicles the impact of acid house on the band, marking the clearest statement of the rock and dance influences which were shaping their output. Released in January 1989, just after the bands infamous G-Mex gig and aftershow downstairs at The Hacienda in December the previous year, it became New Order’s first album to go to number one in the UK. It was also hugely successful in the United States where the influence of Quincy Jones’ Qwest label regularly got the band’s singles to the top of the American dance charts,

“Technique” was driven by the classic acid house single “Fine Time” which rivals “Blue Monday” as probably the most openly dance orientated record the group ever produced whilst other tracks on the LP “Round And Round”, “Mr Disco” and “Vanishing Point” also reflect the dance sensibilities then fusing their way into New Order’s sound. Yet like on its predecessor, “Brotherhood”, these are balanced by the vocal led, more rock leaning “All The Way”, “Gulity Partner” and “Run”.

Legendarily recorded in Ibiza in 1988, Technique has often been observed to capture the sound of that summer and the heady period back them both on the island and in the UK and of course, Manchester. As is widely known, the band didn’t actually do much work in Ibiza, a jaunt that Factory label boss Tony Wilson once told Peter Hook “was the most expensive fucking holiday you’ve ever been on”.

The band returned to the UK to finish the LP at Bath’s Real World Studios later in 1988, itself the scene of another legendary New Order party when recording was completed.

In many ways, “Technique” epitomised its time and the culture surrounding it. It came out to generally ecstatic reviews from the top notch echelons of the music press. In the UK, Melody Maker called it “a rare and ravishing triumph” whilst NME proclaimed the band “had fashioned an LP of rare and unflinching honesty”. Across in the States, SPIN called it New Order’s best ever album, Rolling Stone referred to its “sonic presence with immaculate playing” and Pitchfork sum up the album simply as “magnificent.”

“Placed in the perfect position to deliver the definitive alternative take on house music, the band produced another classic record”. All Music

Many consider “Technique” to mark the high point of New Order and as they went on from the album to headline Reading Festival in August 1989, before going on hiatus and also pursuing their solo projects, this is generally thought of as the golden period for the band.

Due to the well documented history surrounding “Republic”, it is remarkably difficult to characterise it as sharing the same sunny outlook as “Technique” but Hooky’s decision to include it in these concerts underline his commitment to perform all of his catalogue that he has committed to record.

Not that “Republic” wasn’t hugely successful. Again it went to number one in the UK and became the band’s biggest ever selling album in America, narrowly missing the Billboard album chart top ten peaking at number 11.

However it is not unknown that it was New Order’s most difficult album to make. Factory Records had hit financial trouble and needed a New Order album to bail themselves out so the band were coerced into recording the album in to save Factory. Something that didn’t entirely work out as Factory was then to go bankrupt in November 1992 and New Order then signed to London Records, an offshoot of Warner Bros with “Republic” released in May 1993.

The band roared back with first single “Regret”, still thought of as one of their finest ever, and subsequent singles “Ruined In A Day” and “World” did well, both in their original versions and as remixes which again dominated the dance charts.

Yet it’s not hard to deduce that the demise of Factory, coupled with the ongoing difficulties surrounding the band’s involvement in Manchester’s Hacienda as well as internal friction within New Order and due to the band members’ solo projects, all had an impact on the recording sessions and mood that lies behind “Republic, something that Stephen Hague did his utmost to assuage in producing the LP.

Still considered a worthwhile addition by fans to New Order’s catalogue, yet, if not perhaps hitting the standards they had previously set for themselves, “Republic” did receive some strong reviews. NME’s Dele Fadele awarded it 8/10 on release whilst All Music commented that “Republic simply borrows elements of contemporary innovations in club music to frame a set of effortlessly enjoyable alternative pop songs.”

This year’s Hacienda Christmas party sees the club back at The Warehouse Project for its first event with the club in over three years. Taking place Saturday 30th December, the night once again sees some of the finest US DJ’s guests taking charge alongside The Hacienda’s own original DJ influences.

As the DJ’s playing share a long history and association with FAC51, both via the records they have produced and having played at the original venue and more recent events, we caught up with Todd Terry, Kevin Saunderson and the club’s longest serving resident, Graeme Park, to chat over The Hacienda then and now and being back to the WHP for Christmas.

One of the finest DJ’s and producers in the world, Todd Terry, whose unique blend of tough garage beats, hip hop, techno and classic vocals have seen his records shape dance music heart and soul. Beyond the smash number one hit of Everything But The Girl’s “Missing” produced by Todd, his productions such as “Keep On Jumping”, “Something’s Going On” and remixes for the likes of Pamela Fernandez, Bjork and George Michael amongst others are considered some of the very best works ever produced. With a body of work stretching back three decades, just to mention these few tracks scarcely does justice to Todd’s catalogue.

A regular at the original Whitworth Street venue, who headlined many New Years Eve and Birthday parties in the nineties, Todd remembers that the “the club was always exciting. What was great for me was that I always got a chance to break new records, laying down new tunes such as Weekend, Bango and Orange Lemon’s Dreams of Santa Anna which the crowd took to straight away. That gave me real confidence in the material.”

Equally Told, much admired and well loved in Manchester also remains a great fan of the city and its scene. “Every time I visit Manchester, the city is always vibrant. People are always ready to party there and it has a unique vibe to it that doesn’t compare to anywhere else.”

A name known to any dance music aficionado as Reese, Inner City, E-Dancer and as himself Kevin Saunderson, Kevin is also one of the most influential producers in dance music history. A core member of Detroit’s “The Belville Three” with Derrick May and Juan Atkins, Kevin’s tracks, “Good Life”, “Big Fun” and “The Colour Of Love” were huge worldwide hits in dance music’s early days and remain seminal today. Again like Todd, that’s aside from his huge body of work including more underground tracks like “Star Dancer” and his “History Elevate” series.

Active across the Northern scene at the original Hacienda and clubs like Soak, Basics and more when he was living in the UK and recording for Neil Rushton’s Network Records in the late Eighties, Kevin also recalls the sprit and influence of FAC51.

“The Hacienda was always a classic feeling kind of venue. Even then it was obviously very historical and had been around for a few years. What I remember most is that it was all about the music and that gave it one of the greatest atmospheres I’ve experienced in a club.”

“When I first visited back in early 88 the Northern scene didn’t feel that developed but by the latter part of the year it had shot up and everyone was on the same page and the same vibe. Everyone was so enthusiastic. They really cared about what the DJ played and were in tune to this great new music.” The Hacienda’s very own Graeme Park, Scots born but Manc adopted needs no introduction to the club’s fraternity. An ever present with the club since 1988 onwards and its longest serving resident, Graeme’s considerable talents as a DJ, radio presenter, producer and remixer is well documented and his personal influence on the longevity of the club cannot be overstated. Looking forward to being reunited with his American DJ friends at the Warehouse Party gig, Graeme reckons that “this is one of the most exciting line-ups of legendary DJs we’ve had. Their music, remixes and productions throughout the 80s and 90s provided the soundtrack to the hedonism of The Haçienda. Their legacies are important and they inspired younger contemporary producers today.”

“I’ve had the pleasure of DJing with them on their respective home turfs and I’ve toured and hung out with them around the world over the years, so I know firsthand how great they are behind the decks too. They can all work a dance floor sublimely, thanks to their years of experience behind the decks. Their craft shines through. They are also rare examples of producers of music who are equally at home behind the decks and in the studio. That is a rare talent that many DJ/producers lack nowadays.”

As for coming back to The Warehouse Project Graeme concludes “I’ve always loved the place as the crowd are amazing and always up for it. Previous Haçienda nights at the WHP have been great but I’m certain that this will be the best one yet. Just don’t ask me what I’m going to play though.”

Todd and Kevin also agree. Here’s Todd first up, “the WHP is always a good party. I get to play what I want such as old school house, disco, funk, and old school hip hop. Can’t wait to hang with you guys, see you soon!” While the last word for now goes to Kevin.

“I ‘m looking forward to it for sure. Get ready for a combination of classic tracks and music from the future. Some bits of house, lots of techno, cause that’s who I am!”

It is with heavy heart that i can confirm that the news section on www.neworderweb.net will no longer be updated.

As you will all know, social media pages can be easily updated within seconds to get the latest New Order and associated news as it happens, whereas it is somewhat time consuming updating the NoW site,
However, i will continue to share the latest news on our sister pages on Facebook.

This doesnt mean the end of www.neworderweb.net – (for now) but i can forsee in the coming years that i will have to close it down or leave it in archive mode.

The site has been a passion, especially the discographes and i am loathed to lose the New Order Discography that i have worked on for many years ,and which is still the number one and most comprehensive New Order Discpgraphy on the planet.

I have another project in the pipeline with the discography in mind but this will take several years to come to fruition, i will keep you all informed on progress naturally.

I would like to take the opportunity to thank everyone who have been involved in the www.neworderweb.net project.

Haçienda Classical with Graeme Park, Mike Pickering and Manchester Camerata is to open this year’s Glastonbury Festival main stage in the prestigious Friday morning slot, providing an epic performance to get the festival underway.

Last year’s opener on the Pyramid Stage saw The Orchestra of Syrian Music with Damon Albarn and guests in the slot. This year Haçienda Classical, which sees the clubs original DJ partnership Graeme Park and Mike Pickering reinterpret seminal dance classics with Manchester Camerata – “Probably Britain’s most adventurous orchestra” (The Times) – conductor Tim Crooks and guests, is charged with rousing the festival goers for the Friday morning start of the legendary main stage.

Haçienda Classical has returned in 2017 with a new set, aired for the first time at April concerts in Leeds and Glasgow. The Yorkshire Evening Post commented on the Leeds show, calling it “sheer enjoyment for the head, heart and feet, this is a show that’s hard to beat.”

About Haçienda Classical at Glastonbury 2017, the project’s executive producer Peter Hook comments: “After forty years in the music business I still count my three appearances at Glastonbury as the peaks of my career, to be back with Haçienda Classical in 2017 is another landmark moment and is dedicated to Tony Wilson and Rob Gretton to celebrate their contribution to British music and culture.”

Bob Riley, CEO of Manchester Camerata, the orchestra collaborating in Haçienda Classical added: “Haçienda Classical has bound together amazing artists and audiences in a unique Mancunian musical story. The opportunity to play Glastonbury and open the Pyramid Stage, is a massive honour and privilege for Manchester Camerata.”

Graeme Park who along with Mike Pickering has put together the set for the Haçienda Classical concerts added: “I’m utterly thrilled to be opening the Pyramid Stage at Glastonbury this year. It’s a real honour to appear on the stage where I’ve seen so many of my favourite artists and legends play. Bringing Haçienda Classical to Glasto is a mouth-watering prospect and one that is sure to excite the Glastonbury crowd.”

As The Haçienda’s dance heritage has collided with the world of classical music, the concerts have been widely praised with great audience responses from the gigs, and dates selling out in minutes.

In its second year, the tour returns to venues that hosted 2016’s inspirational nights as well as new locations, recreating the tunes that defined a generation at the original club, renewed afresh and rearranged with a classical orchestra.

“A near two hour blend of house music’s greatest players with an audience dancing and singing from the off. Dazzling mirror-ball speckles are flung out over a crowd whose jubilant euphoria almost blows the roof off.” – Mixmag

‘Probably Britain’s most adventurous orchestra’ (The Times) and a Registered Charity, Manchester Camerata is redefining what an orchestra can do. Famous for innovation, the orchestra pops up in all sorts of places, from concert halls to care homes, and collaborates with a spectrum of artists, from classical superstar Martha Argerich to the Haçienda DJs. The orchestra’s Music Director and conductor, Gábor Takács-Nagy, is one of the finest musicians on the planet, and a magnet for international artists and collaborators. The award-winning Camerata is at the forefront of international music-led dementia research, and its pioneering community programme helps to promote social change in its communities.

The AMC Choir who perform at all the Haçienda Classical dates sing with a style that fuses House and Gospel music perfectly.

Matching natural, full-bodied, vocals to recreate the classic tracks which make up the Haçienda Classical set, their voices resonate with the sounds of the DJ’s and The Camerata as their harmonies and considerable energy generate the atmosphere at the concerts.

Based in Manchester, AMC have performed together since the early 90s’ across many tours and special events and choir director Audrey Mattis, says of the involvement in the tour; “Singing these famous House tunes with the knowledge that Manchester and The Haçienda was at the heart of creating the original sound is an inspirational feeling. With the cheering, and the dancing crowds, we really feel like we’re part of a historical moment. It’s uplifting to hear the crowd singing along with us from the minute they hear the intros until the very last note.”

I am extremely pleased to announce that due to unprecedented demand ANOTHER 50 of the NoW 5 / True Faith 30 anniversary badges are being made as we speak! If you would like one then drop me a line in on webmaster@neworderweb.net . A small P&P charge will apply.